#alisa shpiller

[devilishdewitt]

Cabaret Show Cinematographié (Shpiller cabaret, Fleurs de Folie), March 2019.

~The Eternal Disclaimer~

It is hereby declared that this little nook of the world wide web shall be devoted to the praise & critique of the art of burlesque, specifically in Russia.

Let it also be known that I am first and foremost a benevolent force, and every single criticism is documented solely for the purpose of evolution, growth and inspiration, darling.

Never forget - it is fantastic that the burlesque scene in Russia has grown so much in the last few years. Brava, ladies! As a fact and a statement, it is absolutely fabulous.

However, I volunteer to wear the heavy crown of expertise, having seen many a show in many a place, and having a keen eye for detail and a heart hungry for that wow factor. I always come with an open heart, am quite easily entertained, and know how hard the craft is - I can overlook many a fault when there’s stage presence, charisma and that fire of passion. Oh, and self-irony.

All is sickly without self-irony.

Now, onwards! To fabulousness!

Alice Shpiller & Katrin Gajndr strike again - mysteriously ditching Fleurs de Folie and swiftly moving to Cabaret-Show Cinématographié

The Venue

Cinematographe is quite fabulous - a little hard to find, perhaps, but just enough to spice up the anticipation. I wish their cocktails were less watery and the lights were more efficient, but overall, the atmosphere was welcoming.

The Wait

Was pretty uneventful, but simple & pleasant. I always enjoy being greeted by ladies in stoned tights.

The Performers

Katrin Gajndr knows what she’s doing - her acts are close to impeccable.

Perfect mix of old-school glamour, charming self-irony and inspiring self-confidence.

Fun fact: if you squint and look at her, Dita Von Teese appears. At times I wanted to see less of Dita and more of Katrin, for she is truly fascinating.

Alice Shpiller was the chaotic energy beam of the evening. Was it good? Not always. Does she have the balls to do it? Obviously. Does she enjoy it? Definitely. Was she annoying? At times.

Her cabaret star costume would’ve been simply wondrous, if it wasn’t for the black tights. Dear God, lose the tights!

The ‘masculine’ outfit was lacklustre. The shape of the suit did not compliment her figure at all - quite the opposite. Her singing is truly skilled, but the karaoke bit in the second half was simply uncomfortable.

“High Voltage” was entertaining, yes, but quite crass and somewhat out of place. The singing/dancing number that concluded act I was good - but I still don’t understand, was the dancing supposed to be in sync? If it was, the goal was not achieved.

Perhaps it would be wise to switch the outfits - start off as the man with the John Waters moustache and then transform into the beauty star.

With a bit of direction she can truly shine, as she does have enough talent for ten.

Kristabel Otem s mesmerising. Both of her acts were simply incredible, she embodied everything I love in Burlesque - that hypnotising combination of storytelling, meaning, playfulness, self-irony & philosophy of movement. Brava! The Death number is one of the best acts I’ve ever seen.

In fact, every act I ever saw from her was incredible - from Melancholia/Depression at last years Moscow Burlesque Festival, to the playful Suffragette and the flawless Death act…She is a marvel.

Lisa Alisa is extraordinarily baffling. I’m still not sure what I saw - we were promised a Bunny in the second half, but all we got was an extremely mediocre high hat/suit with shorts act. The monk (?) act left a lot of questions, and not in a good way. When the audience isn’t really responding to your moves, it’s an invitation to reconsider and reinvent your behaviour, not sulk & yell. This petulant child energy is far from alluring.

She clearly enjoys every second of being on stage, but does anyone else?

Whoever styled the Stage Kittens (Miss April & Janina Barabas) had nothing but cruel intentions. As the show progressed, the outfits got worse and worse - I am still deeply traumatised by the neon leopard-print stripper outfits. Hideous! As hideous as the hair…An elegant slicked back low ponytail would do wonders, but for some reason sloppy, sad hair was chosen. What a shame.

The ladies are clearly talented dancers. But their solo dance number was incredibly problematic - it’s 2019, folks. Time to give up the “shallow-cat fight-with-undressing” narrative.

Someone did these ladies dirty. What a shame!

The finale was dreadful - that sudden transition into loud Russian karaoke nearly broke every good vibe I harnessed during the show. Shockingly bad. At least have the decency to give those who detest this vulgar culture a few minutes to escape.

THE FINALE

On social media, the company parades the difference between the styles of Gajndr & Shpiller as a benevolent factor, but in reality it doesn’t do them any favours. Perhaps a different way of showcasing it might save the situation, because at the moment it’s simply messy.

Don’t get me wrong, I know this was their first show - but once again, I can forgive every mishap when I see the vision & the passion. This show was all over the place because it lacked a consistent style, consistent philosophy, consistent atmosphere. Why not make a showcase of different styles of Burlesque? It would save this mismatched parade.

✶✶

[devilishdewitt]

Cinématrographié Cabaret Show, April 2019

The time has come for the second instalment of Cabaret Show Cinématrographié!

Did it sizzle or shine?

 Read on…

The vivacious Alice Shpiller and her beguiling partner-in-crime Katrin Gajndr brought their cinematographic creation back to it’s namesake location - Cinematographie karaoke.

The theme was, fittingly, ”movies”. The audience were encouraged to dress up as their favourite movie characters, but alas, the public is yet to indulge in the wonders of theme dressing.

The evening began with Alice Shpiller appearing as a modern version of the Little Mermaid - lip-syncing to "Part of Your World”, roaming from table to table & live streaming the whole thing. Her costume was just the right amount of camp (more camp than most Met Gala attendees, GOOD MORNING KARLIE KLOSS), and the performance was a sweet little warmup - perfectly in the style of the show, preparing us for what is to come - genuine beauty with a side of charming goofiness .

All was great! Apart from the wig. 

To be honest, the wig made me quite sad.

Actually, to be perfectly frank, that wig was actively upsetting, darling.

It would be a service to mankind if it were thrown away and allowed to succumb to oblivion.

Shpillers’ hosting was definitely more coherent than last time - the jokes landed, the charm was undeniable and she felt more confident and in control. It was truly entertaining - I was equally excited by the acts and the hosting, and it’s a marvellous feeling!

It wasn’t long until we saw the first burlesque performance of the night - Katrin Gajndrs’ “Woman in Red”, inspired by the 1984 film. Dearest reader, I was smitten. The way she moved, the way she looked at the audience, the drive, the passion, the grace, the fun she had - she cast a powerful spell, not a soul went untouched by her classy, sassy performance. One of the best acts I’ve ever seen in Russia. Yes, you’ve read that right. Flawless mix of irony, indulgence & power in her attitude. The moves were sensually precise, she knew what she was doing and oh lordy was she enjoying it! Brava!

However, even her radiance couldn’t outshine the terror that was the stage lights (if they even deserve such a name). Horrible is a word that covers the situation pretty extensively. On a few particularly painful occasions I imagined that the lights from the audiences phones would do a better job than the chaotic colourful mess that this establishment calls “lights”.

However, even they didn’t take away from the excellence of the beginning of the show. Something else did. Or should I say…someone.

Miss April. Honey. Allow me to help.

You have a delicious chance to learn from the best (I mean Gajndr, not myself, you cheeky little thing!).

No lip colour, flat hair, ordinary lingerie, upsetting lack of the most basic acting skills, lack of story, drive and imagination just won’t do.

Especially when you take something as legendary as Breakfast at Tiffany’s. Especially when you’re on stage straight after Katrin. Especially when you have access to the expert advise of Shpiller & Gajndr! 

Dearest reader, I was infuriated.

A slender lady who happens to be a good dancer walks in looking quite mediocre, bites a pastry, takes a sip of coffee, leaves them on the front table (all this is done with no energy whatsoever), goes on stage, takes off her dress, reveals a very basic set of black underwear (not lingerie) and gets in a bed that the stage kittens have meticulously prepared for her.

What for? What is the purpose? What can you possibly add to Holly Golightly? There’s so much that could’ve been done with this number - take the fact that Holly in the book is much more risqué than Holly in the film and dance the night away with your vision of Capotes timeless heroine!

Were they really so desperate for an act they let this half-baked croissant mop around, languidly perusing the stage?

An act of cruel sympathy, blind hope and/or unnecessary cruelty.

Thank goodness we were saved by Kristabel Otem.

Good God how I love that woman.

Sin City.

Need I say more?

Kristabel Otem.

Sin City.

My little noir heart pounded with inexplicable joy.

It hit every mark, was deliciously erotic, devilishly ironic and just wonderfully done.

And then a miracle appeared.

A sublime beauty.

The Swan Tsarevna.

A costume so gorgeous, I believe my jaw did indeed hang loose in the air for a few moments.

How I wish Lisa Alisa did the costume justice.

It’s a fantastic idea - an iconic Russian fairytale heroine, a song by one the best known folk rock bands in Russia…but unfortunately the performer brought her own brand of haste, hurry & dare I say, clumsiness. Someone, please give that girl a stage presence lesson. She’s literally two steps away from truly spreading her gorgeous wings and embracing her undoubtable talent.

After an intermission full of exciting murmurs, Shpiller emerged in a new emploi - Clockwork Orange diva. It worked marvellously well - the look really suited her, the vibe was playfully ultraviolent and her acting was excellent. There was no shedding of the clothes, but it was an enthralling number.

Overall I vigorously applaud the fact that the spotlight was directed at an eclectic collection of fantastic movies. Moving away from the ordinary does an artwork good!

A new incarnation of Lisa appeared - or did it? A tribute to Sally Rand, white costume, white feather fans, it looked a bit too similar to the Swan Princess act and lacked any character development. It was the same act, but with a different costume. Sigh.

And again, the screeches of excitement…I can imagine it working quite well on a few occasions, but at the moment she’s overusing it.

Shpiller! Contemporary dance tribute to “The Raven”! Unexpected, unusual, perhaps somewhat questionable, but she was convincing and clearly had a story to tell.

It’s her show, so why the hell not?

Kristabel performed as a 1920’s detective (Miss Fisher’s Murder Mysteries)  and it was splendid. I just love how she unapologetically shows us different sides of her character - a coy Kristabel? Enchanting!

And then came The Dragon. Oh, dear reader, you might already know that I have a deep admiration for the art of Katerina Sahara. Her Dragon was as enrapturing as the first time I saw it. Despite the fact that there were a few technical mishaps (completely unnoticeable by the spectators, I assure you), and that she herself was not particularly pleased with this performance, it was hypnotising. The power! the smoothness! She immediately transports us all to a dimension of gorgeousness. A fantastic act by a fantastic performer.

Ah! Can you hear it? The time has come for the unavoidable venue promotion!

Ringmaster Alice gathered a group of enthusiastic air-musicians (some of them were real musicians, it seemed), the DJ turned on the karaoke version of “Bohemian Rhapsody” and off we went! Alice effortlessly ran from table to table, engaging every single member of the public into everyone’s favourite epic musical number. I do wish she paid a bit more attention to the “band” though, they were left somewhat abandoned on stage while she flew around. It did seem, however, that some of them were indeed entertainers, for they felt quite confident on the stage.

I must say, participating and witnessing it was great fun. Honestly, you can do no wrong with Bohemian Rhapsody, and my God, Shpiller has some pipes!

The grand finale of the night was the famous Cleopatra act by the mistress of the eve, Katrin Gajndr. Bathing in a chalice of real milk, surrounded by two slaves, legends have travelled of the exquisite vision of this act. However, somehow, it just did not deliver. It seemed as if Gajndr was either distracted or upset; there was no energy at all. The slaves were also quite timid and did not do the classic fabulousness of the act any justice. Good morning, this is performing 101 - a smoothing caress of a brush does a wig good.  It’s still a spectacle, of course, but not quite as rich as the majestic Queen of the Nile.

THE FINALE

Ladies, congratulations!

The second instalment of Cinematographie truly was a major improvement from the first show. To put it quite simply, it was fun.

 It was fun! I felt very entertained. Shpiller was feeling her mojo that night, and it was truly intoxicating. Gajndr was extraordinary (yes, even despite Cleopatra not quite rising to the occasion). Lisa Alisa had moments of divine beauty, Sahara stayed true to her fabulous brand, Kristabel revealed more colours of her tremendously intriguing diamond, and Miss April…well, everybody’s gotta start somewhere, right?

Extremely excited to see what they cook up next!

✶✶✶✶

UPDATE

As this review was being prepared, the next show has been announced - July 6th, Yes I Can-Can, in honor of Katrin’s birthday! And at a theatrical venue, too - how very curious!